This article argues that the American TV-series The Wire poses complicated political and ideological questions rather than attempting to deliver clear-cut answers or solutions to the problems represented. The Wire is analysed both as an aesthetic phenomenon (narratological and thematic analysis) and as a representation of societal elements (which demands analysis based on sociological, historical and criminological perspectives). After a brief overview of the series, the authors aim to generalise the results of the analysis of a particular part of the five-season series, namely the “Hamsterdam-episode”.
En diskusssion af muligheden for at benytte Bachtin i en medieteoretisk kontekst, med särligt henblik på spörgsmålet om intermedialitet
En teoretisk diskussion af Bachtin som intermedialitetsteoretiker.
The Scandinavian middle classes have been trained in feeling guilty and shameful about their social and economical privileges as well as these privileges in combinations with gender and/ or ethnicity. But "eco-guilt" or "eco-shame" has hardly been represented properly in cinema and TV series to this day. In this article, I want to offer a kind of prediction, rather than a description, of what may be an upcoming major theme in Scandinavian visual narratives: eco-guilt and eco-shame. I see signs of this in the recent TV series Jordskott from Sweden, the Norwegian Okkupert and the Danish Bedrag, but my point will be that the ecological issues here are used as a useful background or a dramaturgical starting point rather than as a major theme: as pretexts, in the double sense of the word. The use of ecology as pretext in Scandinavian TV series will be the subject of this article where I intend to focus on the way that the question of eco-guilt seems to be an alluring and tempting as well as repressed thematic, a fact that can be read out of the three series' paradoxical opening sequences.
En diskussion av den svenska författaren Daniel Boyacioglu utifrån hans självframställning och utifrån ideen om en "mindre litteratur" (Deleuze)
En diskussion av Chrétien de Troyes' poetik utifrån modern tekstteori och medeltida föreställningar om fiktion och litteratur.
En diskussion af det teoretiske begreb heteromedialitet (en videreudvikling af intermedialitetsbegrebet) med särligt henblik på repräsentationen af androgynitet i värker af Virginia Woolf, Sally Potter, Iain Banks.
En diskussion av Nobelpristagare Imre Kertész som "postderrideansk" författare, speciellt utifrån hans förhållande till historie-skrivning och iden om att "vittna".
Framtidens kulturvetenskap kommer kanske att vara intermedialitet, men då måste begreppet utvidgas och kompletteras ift dess nuvarande status och omfång.
Keynote föreläsning på doktorandkonferens: kritisk granskning av mediebegreppet och intermedialitetsteorin; introduktion av heteromedialitet
A critical reassesment of the five romances of the medieval writer Chrétien de Troyes, in particular from the viewpoint of the author's relation to chivalry, love, poetics, and violence
In this article I shall focus on the novel Shutter Island by Dennis Lehane, briefly refer to a graphic novel by De Metter, and Scorseses film by the same name, as well as the compiled musical soundtrack for the film. I will discuss general methodological and theoretical questions raised by these works, but the entire discussion is directed towards Scorseses film (including its soundtrack) as well as the music of film generally: why did Scorsese and his team choose such a relatively special soundtrack for the film; what is the role of music in the general adaptation process of turning a novel into film; and what is the relation between the musical soundtrack and the originating novel? Madness, I will argue, will be part of both the problem and the answer to the methodological and theoretical investigations, and I will argue that we ought to consider music as an important aspect in Scorseses Shutter Island, and that my specific discussion will have repercussions beyond the study of this particular novel and film.
A discussion of the various adaptions of the multivolume novel of French author Marcel Proust to the medium of film.
Taking as my starting point the intermedial idea that all literary texts exhibit some kind of medial mixture, the article argues that Vladimir Nabokov's formally exquisite and existentially moving short story Spring in Fialta (which I analyze in Nabokov's own English translation from Russian) is best understood when it is considered a mixed mediality text. I hope to demonstrate the general idea that when a conventionally literary text is being read as a medially mixed text the role of media turns out to be crucial for the understanding of the entire text. More specifically, I shall argue that the schism between artistic representation and life in itself, condensed into the problem of how to represent and recall memory traces, is a major theme in Spring in Fialta.
Introduction to intermediality studies with special attention to the problems involved in studying the work of Astrid Lindgren
En undersökning av Tristan och Isolde motivets förvandlinger från medeltidens berättelser över Wagner, Mann, Cocteau och till Bunuel i olika medier.
This chapter discusses temporal aspects of the Anthropocene – a temporal concept often related to doom, distress and lack of future hopes. The chapter is interested in the ways in which the notion of time itself (including the even more problematic notion of deep time) and human-induced changes on large temporal scales can be represented in media forms outside the conventionally scientific channels. The chapter is particularly concerned with how narrativity offers itself as a method for making time comprehensible to human beings, and in an attempt to reflect productively on this theme, Paul Ricoeur’s notions of narrativity and time are combined with classical Aristotelian concepts. Towards the end, the narrativity of computer simulations is discussed, along with four narrative ways of approaching an Anthropocene future. Even in this future, there might be hope to be found.
Cinema has always been a mixed medium, sharing its basic form with photography, borrowing heavily from performing arts and the novel, and combining medialities like painting and music. But although it could be argued that cinema is the intermedial art form par excellence, this insight has not affected film analysis as much as might be expected. Seeking to change our perceptions of cinema as a medium, Cinema Between Media draws on case studies of films like Zero Dark Thirty, Citizen Kane, Howl and Birdman to rethink cinema as an aesthetic form, and to raise new ideas about the practice of film analysis.
Is the acclaimed HBO series The Wire comparable to (a certain kind of) literature? In this paper we investigate this claim by both situating the series within the tradition of American television and by way of intermedial comparisons. We suggest that comparing The Wire with literature may prove productive. Specifically, we suggest that selected aspects of M.M. Bakhtin's theory of the novel (heteroglossia and chronotopics) are helpful tools in an analysis of this cop show. Our aim is to demonstrate how and why David Simon and Ed Burns' work may be legitimately considered a ‘novel cop show’, which means that, through The Wire, television is able to achieve some of the functions that are often referred to as typical of novelistic discourse.